bee-hive at sunset, was heard proceeding from a house tinted rose color,
and ornamented with blue and white pointings, which was known by the
sign of "The Sword of the Brave Chevalier," and which was an immense
inn, recently built in this new quarter. This house was decorated to
suit all tastes. On the entablature was painted a representation of a
combat between an archangel and a dragon breathing flame and smoke, and
in which the artist, animated by sentiments at once heroic and pious,
had depicted in the hands of "the brave chevalier," not a sword, but an
immense cross, with which he hacked in pieces the unlucky dragon, of
which the bleeding pieces were seen lying on the ground. At the bottom
of the picture crowds of spectators were represented raising their arms
to heaven, while from above, angels were extending over the chevalier
laurels and palms. Then, as if to prove that he could paint in every
style, the artist had grouped around gourds, grapes, a snail on a rose,
and two rabbits, one white and the other gray.

Assuredly the proprietor must have been difficult to please, if he were
not satisfied, for the artist had filled every inch of space--there was
scarcely room to have added a caterpillar. In spite, however, of this
attractive exterior, the hotel did not prosper--it was never more than
half full, though it was large and comfortable. Unfortunately, from its
proximity to the Pre-aux-Clercs, it was frequented by so many persons
either going or ready to fight, that those more peaceably disposed
avoided it. Indeed, the cupids with which the interior was decorated had
been ornamented with mustaches in charcoal by the habitues; and Dame
Fournichon, the landlady, always affirmed that the sign had brought them
ill-luck, and that had her wishes been attended to, and the painting
represented more pleasing things, such as the rose-tree of love
surrounded by flaming hearts, all tender couples would have flocked to
them.